Transit begins in a deceptively soft and spacious way. Introduction
opens with a single synthesized flute, others gradually joining to create
a sound reminiscent of the glass harmonica. The first movement proper has
the guitar effectively feeling its way, rhythmically and harmonically, against
a spacious accompaniment. This is developed in the second movement, with
shifts in tempo and a sense of developing urgency; but it is not until part
four that we fully enter the world of rock, with appropriate bass riffs
and drum sounds. Part five is jazz-rock territory and we begin to get a
feel of Nicolella's tremendous virtuosity as the guitar solo builds
and soars. Abruptly, the rhythm changes and we're enveloped by a strange
mélange of funk and heavy metal, articulated by a series of dislocated
tempi. Part seven features rapid bursts of synthesizer. Melody sometimes
emerges in snatches which, bizarrely, seem to echo Bach, then Hindemith.
The guitar work in section eight takes us back to the tentative ground of
the second movement; then we're into the world of heavy rock once more.
Section ten, the improvised guitar movement, is perhaps the most obviously
lyrical, and beautiful of the piece. This segues into the final section,
which builds to an almost frenzied climax, and Transit ends in a
sonic antithesis of its opening bars.

It's hard to find comparisons. Pat Metheny, perhaps, in Steve Reich's
Electric Counterpoint. But that's a very stately piece compared
with this roller coaster. The closest I can think is Jan Hammer's album
from the 1970s, The First Seven Days which, paradoxically, doesn't
even use a guitar; everything is synthesized. Perhaps there is
nothing quite like it. The only way to find out is to listen for yourself!

Details of Michael Nicolella's other recordings, and also his concert
dates, can be found on his website (below). His repertoire is varied; his
reviews glowing. If you live in Seattle, for goodness' sake go and
hear him.